Affective Territories

Margarida Carvalho

“But what can the geopolitical lens reveal, when it’s a matter of artistic invention?” (Holmes, 2008a)

“Has the ideology of our time not become an erratic, wavering pattern of crisscrossing footsteps, traced in secure metric points on an abstract field? The aesthetic form of the dérive is everywhere. But so is the hyper-rationalist grid of Imperial infrastructure.”
(Holmes, 2003b)

1. Geopoetics.

The figure of map1, historically associated with colonial imperialism,
has gradually grown into a privileged trope of contemporary art which
articulates it either as personal cartography (singular trace)2, as an
ethnographic map of a community or institution3 - thus revealing the

1 This paper is based on my own article “Mapas Imaginários” published by online
magazine Virose, section b#21, in October 2008. Available at: http://virose.pt/vector/b_21/carvalho.html (Accessed 7 March 2009)
2 As is the case of artist Jeremy Wood and his GPS drawings. Quoting from his website:
“Jeremy Wood is an artist who started GPS drawing in 2000. He maps his daily
movements with GPS to express a personal cartography, and generates new work as
he travels.” Available at: http://www.gpsdrawing.com/jw.html (Accessed 24 February 2009).
3 The unavoidable reference here is to the often quoted chapter “The Artist as
Ethnographer” from the book The Return of the Real by Hal Foster. In Foster’s own
words: “These developments also constitute a series of shifts in the siting of art: from the
surface of the medium to the space of the museum, from institutional frames to
discursive networks, to the point where many artists and critics treat conditions like
desire or disease, AIDS or homeless, as sites for art. Along with this figure of siting has
come the analogy of mapping. In an important moment Robert Smithson and others
pushed this cartographic operation to a geological extreme that transformed the siting
of art dramatically. Yet this siting had limits too: it could be recouped by gallery and
museum, it played to the myth of the redemptive artist (a very traditional site), and so
on. Otherwise mapping in recent art has tended toward the sociological and the anthropological,
to the point where an ethnographic mapping of an institution or a community is a primary form of site-specific art today.” (Foster, 1996: 184-185)

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complexity of the relationships within these -, or even by evoking its
constitutive power, a map of becoming that traces a people to come4.

This notion of map as an artistic trope evokes, for example, the
work of Lothar Baumgarten, a German artist whose conceptualist work is
shaped by a subtle social critique manifested in a particularly poetic and
political way of molding ethnographical and historical materials. In this
respect we recall specifically the 20015 exhibition that the Fundação de
Serralves (Porto) dedicated to this artist, titled “By water brought
collected broken buried”, in which the first room displayed a vast map
spread out on the floor and partially hidden by a net (Voo Nocturno,
1968-69) next to a small pyramid of blue pigment (Tetraedo, 1968).
Cartographies, photographs, names, drawings, sounds, feathers, masks
and charms populate the universe of Baumgarten, but always filtered by
a reflexive gesture: there is always a mirror, an object of daily use
abandoned in the jungle, a name beyond the code, a disorienting index
on the map which all betray the presence of the artist, of his gaze, of his
system of values. In the words of Hal Foster:

“Such reflexivity is essential, for, as Bordieu warned, ethnographic mapping is
predisposed to a Cartesian opposition that leads the observer to abstract the
culture of study. Such mapping may thus confirm rather than contest the
authority of mapper over site in a way that reduces the desired exchange of
dialogical fieldwork.” (Foster, 1996: 190)

Trevor Paglen, a Californian artist, refers to such a cartesian
opposition as “God’s Eye”—thus justifying his hesitation in working from a
cartographic point-of-view—during his conversation with Visible

4 Such is the stance of Brian Holmes in “Imaginary maps, global solidarities”: “My
conviction is that we need radically inventive maps exactly like we need radical
political movements: to go beyond received ideas and orders, in fact, to go beyond
representation, to rediscover and share the space – creating potentials of a
revolutionary imagination.” (Holmes, 2003a)
5 Concerning which I wrote a short text published by the online magazine Interact, #4,
November 2001. Available at: http://www.interact.com.pt/interact4/ (Accessed 7 March 2009).

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Collective/Naeem Mohaimen regarding the map co-authored with John
Emerson for project CIA Rendition Flights 2001-2006 (2006), and included
on the book An Atlas of Radical Cartography (Mogel, L. & Bhagat, A.,
2008)6. In fact, this fascinating Atlas, composed of ten maps created by
artists and activists, as well as an equal number of essays which query
and analyze these irreverent and unsettling cartographies, brings
together reflexivity and activist gesture and may be read in agreement
with the notion of “tactical media,” just as described by the Institute for
Applied Autonomy (IAA) on its short essay “Tactical Cartographies,”
which examines the map Routes of Least Surveillance (2001-2007) by the
IAA and Site-R. As the collective puts it:

“At root, tactical media is an interventionist practice that creates disruption
within existing systems of power and control. Less a methodology than an
orientation, it is fundamentally pragmatic, utilizing any and all available
technologies, aesthetics and methods as dictated by the goals of a given
action. Tactical media are often ephemeral and event-driven, existing only as
long as they continue to be effective. They vanish into thin air once their utility
has been exhausted, leaving only traces in the form of memories,
documentation and journalistic accounts. (…) Extending these notions to spatial
representation, ‘tactical cartography’ refers to the creation, distribution, and
use of spatial data to intervene in systems of control affecting spatial meaning
and practice. “(Institute for Applied Autonomy, 2008: 29-30)

Thus, this concept of “tactical cartography,” which in many ways
transverses the numerous creative contributes of the Atlas, calls into play
a re-invention of territory, an heterotopic7 enunciation, in which artistic
experimentation merges with activist guerrilla, and thus the notion of
map appears in its full pragmatic breadth, re-drawing what’s hidden,
suspended, repressed and denied, a geology submerged by the
voracious fluxes of neo-liberal globalization from which may,
nevertheless, emerge new networks, affections, concepts and alliances

6 An excerpt of this interview can be accessed at: http://www.anatlas.
com/contents/pag_em_vis.html (Accessed 24 February 2009).7 Crucial concept introduced by Michel Foucault at the conference “Des espaces
autres” which took place at Cercles d’Études Architecturales, on March 14th 1967.
Available at: http://virose.pt/vector/periferia/foucault_pt.html (Accessed 28 February
2009).

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under the aegis of a desire for a complex social bond of solidarity8. We
may recall here the words of Brian Holmes in “The Affectivist Manifesto”,
where we witness an enunciation of affect9, in the deleuzian sense, allied
(implicitly) to Foucault’s concept of subjectivation10:

“Artist activism is affectivism, it opens up expanding territories. These territories
are occupied by the sharing of a double difference: a split from the private self
in which each person was formerly enclosed, and from the social order which

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Margarida Carvalho

imposed that particular type of privacy or privation. When a territory of possibility
emerges it changes the social map, like a landslide, a flood or a volcano do in
nature. The easiest way for society to protect its existing form is denial,
pretending the change never happened: and that actually works in the
landscape of mentalities. An affective territory disappears if it isn’t elaborated,
constructed, modulated, differentiated, prolonged by new breakthroughs and
conjunctions. There is no use defending such territories and even believing in
them is only the barest beginning. What they urgently need is to be developed,
with forms, rhythms, inventions, discourses, practices, styles, technologies – in
short, with cultural codes. ” (Holmes, 2008b)

The collective volume An Atlas of Radical Cartography reaches
into this “affectivism”, as Brian Holmes calls it, creating new territories of
possibilities by casting different looks into existing territories, illuminating
areas of darkness, indetermination and marginalization, but also
analytically scrutinizing the complex networks that support the
geographies of contemporary capitalism. The theme of Atlas is
introduced immediately on the cover, which shows an inverted map of
the world; subtly, ironically, it’s right at the surface that we plunge into an
“upside down” world in which an extraordinary complexity entails a
growing opacity in obvious contradiction with the proliferation of
discourses on transparency and the immediacy of the society of
information (in fact, the current worldwide financial crisis is an
unmistakable proof of this opacity).

Reminiscent of the urgent need for an “aesthetics of cognitive
mapping” capable of challenging the perplexity and incomprehension
of the postmodern individual in face of the complex (multinational and
communicational) networks that traverse his/hers experience—
suggested by Frederic Jameson, in 1984, on his famous article, later
turned into a book, Postmodernism or, The Cultural Logic of Late
Capitalism—, the Ashley Hunt map, titled A World Map: in which we
see... (2005), is perhaps, of all the maps in this Atlas, the one that most
openly takes on an analytic and didactic approach.

“A World Map In Which We See... traces our contemporary modes of power and
powerlessness, through which positions of wealth and privilege always exist in

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connection to the work or subordination of another. (...) Primary research for the
map came from years of cultural and political work within activist and reform
movements against the United States’ prison system, and emerged from a
perceived need to expand the analytical basis for that work beyond the
limitations of nationally framed legal, institutional and civil discourse. Especially
after September 11, 2001, a condition of statelessness appeared to increasingly
define the nature of imprisonment and mass prison expansion (which is now a
global, albeit US driven phenomena), making the figure of the prisoner less and
less discernable from displaced figures the world over whose resources and
power are progressively seized and expropriated.” (Hunt, 2008: 145-146)11
The figure of the placeless, namely the clandestine immigrant and
the refugee, is mapped by the collective An Architektur12 through a
detailed cartography of the Departure Center at Fürth (a center for
illegal immigrants with no passports or similar documentation) in the
German Bavaria, as well as by visualizations of the center-mediated
relationships between the asylum seekers and the several institutions
involved (medical, juridical, law enforcement, among others), as well as
the procedures for seeking asylum in Germany.

An Architektur in collaboration with a42.org. Geography of the Fürth Departure Center,
2004 (detail). Image kindly supplied by the collective.

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Margarida Carvalho

An Architektur in collaboration with a42.org. Geography of the Fürth Departure Center,
2004. Image kindly supplied by the collective.

Quoting from the Geography of the Fürth Departure Center map:

“Ausreisezentren, or, ‘departure centers’, are camps for refugees and migrants
that, due to missing papers, cannot be deported. Asylum seekers held in these
camps are accused by authorities of concealing their land of origin and resisting
obtaining passports. So far there are seven departure centers in Germany. (...)
Collectively, we have experimented with cartographic representation in order
to pose these questions: What kind of spaces does the German system of the
administration of migrants produce? How do political and social circumstances
appear geo-graphically? Which potential for analysis or evaluation is offered by
a spatial representation? How can a critique of exclusion be formulated by
means of mapping? How can the varying levels of state and institutional
structure be brought into relation with those of individual experience? How is
subjective knowledge transmitted by this?” (An Architektur with a42.org, 2008)

In fact, and as Maribel Casas-Cortes e Sebastian Cobarrubias
point out so well on their analytical text derived from this map and titled

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Margarida Carvalho

“Drawing Escape Tunnels through the Borders: Cartographic Research
Experiments by European Social Movements”13, the notion itself of
“frontier” has been changing over time to a point where the current
“logic of frontier” largely exceeds the geographic boundaries of the
State-Nation, fractured into “internal frontiers” that segregate work,
institutional and familial relationships, to name only a few, intensifying
social inequalities and accentuating feelings of mistrust and social
discrimination.

Targeting this climate of suspicion and fear that transverses the
contemporary experience by creating an ideological context for an
expansive application of surveillance devices—namely through closed
circuit TV networks (CCTV)—, the Institute for Applied Autonomy (IAA), in
collaboration with Site-R, counterattacks in this Atlas with the ironic and
activist map Routes of Least Surveillance (2001/2007), based on the
online application iSee14—developed by the collective for several cities
since 2001—which displays, in real-time, maps of the routes least
exposed to surveillance cameras.

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Margarida Carvalho

Institute for Applied Autonomy in collaboration with Site-R, Routes of Least Surveillance,
2001/2007 (detail). Image kindly supplied by the collective.

The iSee project lays emphasis on a dynamic cartography in which
localization and route are combined into subversive maps that highlight
the creation of experimental, communal and creative strategies for
appropriation and transformation of both media and new
technologies—namely those that are central to the current “surveillance
society”—as a means to enhance the sharing, creation and free flux of
signals, things, people, actions, and affections. In an interview with Erich
W. Schienke, published in 2002 by the Surveillance & Society15 magazine,
the IAA called attention to the potential of the iSee application when
combined with locative media (on which they were already working), as
the intersection between the two would eventually transform the
application into a general purpose mapping instrument, open to the
creative intervention of its users, specifically through GPS-enabled PDAs,
who would thus be able to insert multiple data and narratives onto the
maps.

Affective Territories

Margarida Carvalho

In fact, with the development of systems such as the Geographic
Information System (GIS), which combines geographically indexed
databases, satellite imagery, and GPS, as well as the proliferation of cell
phones, laptops, and wireless technologies, the artistic and activist
practices associated with locative media have become more prominent
within the contemporary cultural and artistic scene, suggesting a
“locational humanism” (Holmes, 2003b) and imagining the potential for
collective action of the “smart mobs” (Rheingold, 2002) of the 21st
Century. In his article “Open Cartographies: On Assembling Things
through Locative Media”, Michael Dieter writes:

“While explicitly framed as speculative, exploratory and anarchic, the close link
established between a kind of materialist ontology and political emancipation
has become a recurring trope in the commentaries on locative media. To a
certain extent, the trend corresponds with a desire to transcend the limits of
postmodern theorization and the apparent “elitism” of net.art, however, a
range of competing motivations and influences have emerged in the diverse
fields that have converged around the topic of augmented reality. For
researchers Anne Galloway and Matt Ward, new archaeological techniques
developed in conjunction with photography, GPS and cartographic mapping
coincide through locative media as social platforms. This correlation is identified
with the activation of static architectures in order to restore ‘hope’ through the
transformation of urban landscapes.” (Dieter, 2007: 198)

The activation and “rewriting” of the urban landscape brought
about by the artistic practices associated with locative media must be
considered in conjunction with a tendency to develop a cinematic and
interactive architecture capable of creating a total immersion effect on
the digital set16. This urban allegorization is translated into street culture
and intervention, as is the case with the laser graffiti proposed by the
Graffiti Research Lab, L.A.S.E.R Tag (2007); narrative and playful
networked city in which space is mapped with messages recorded by
cyclists who, alone, explore the city streets in search of “hideaway
places” where to leave their stories and listen to those of others, in Rider

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Spoke (2007) by Blast Theory; approximations to the situacionist dérive17
as is the case with the singular traces superimposed onto the urban
cartography as those put forward by Hugh Pryor and Jeremy Wood (GPS
Drawing), and Ester Polak in Real Time (2002); conversion and activism in
the case of the Makrolab project (1997-2007) by Marko Peljhan, and the
Transborder Tool for Immigrants (2007) by “artivist” Ricardo Dominguez.

However, if the tendency to modify technical devices, intervening
in their purpose and liberating them from private appropriation through
an allegorization18 that layers them with new meanings, intersects these
artistic proposals, there is nevertheless an ambiguity that traverses and
surpasses them. In the words of Jordan Crandall:

“What we are witnessing today, however, is not a one-way delocalization or
deterritorialization, but rather a volatile combination of the diffused and the
positioned, or the placeless and the place-coded. Perhaps nowhere has this
been more apparent than with mobile GIS and location-aware technologies.
(…) Tracking has played a primary role in this shift. Its landscapes of inclinationposition
fuel the geospatial interfaces -- such as evidenced in Google Maps and
the C5 GPS media player -- which are becoming important modes of access to
any phenomenon.” (Crandall, 2006)19

17 Quoting Sadie Plant: “One of psychogeography’s principle means was the dérive.
Long a favorite practice of the Dadaists, who organized a variety of expeditions, and
the surrealists, for whom the geographical form of automatism was an instructive
pleasure, the dérive, the drift, was defined by the situationists as the ‘technique of
locomotion without a goal’, in which ‘one or more persons during a certain period drop
their usual motives for movement and action, their relations, their work and leisure
activities, and let themselves be drawn by the attractions of the terrain and the
encounters they find there’. The dérive acted as something of a model for the ‘playful
creation’ of all human relationships.” (Plant, 1992: 58-59).18 We are referring here to the notion of allegory in the sense meant by Craig Owens
and derived from Walter Benjamin’s Ursprung des deutschen trauerspiels (1928).
Specifically: “Allegorical imagery is appropriated imagery: the allegorist does not invent
images but confiscates them. He lays claim to the culturally significant, poses as its
interpreter. And in his hands the image becomes something other (allos = other +
agoreuei = to speak). He does not restore an original meaning that may have been lost
or obscured; allegory is not hermeneutics. Rather, he adds another meaning to the
image. If he adds, however, he does so only to replace: the allegorical meaning
supplants an antecedent one; it is a supplement. This is why allegory is condemned, but
it is also the source of its theoretical significance.” (Owens, 1984: 205)19 Crandall, J. (2006). Precision + Guided + Seeing. Virose. [Online]. Available at:
http://www.virose.pt/vector/x_05/crandall.html (Accessed 7 March 2009).

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In effect, if the aesthetical form of the dérive has made a strong
come back in our contemporary experience, be it under the guise of the
individual in transit, freed from geographical constrains and available for
new encounters through the always-on digital technologies, or through
the nomadic navigation on the World Wide Web, never before have
wanderings, routes and behaviors been this registered, stored and
controlled20, true to the deleuzian concept of “dividual”21 – the current
condition of the individual when reduced to a “data subject” (the result
of an endless split between an individual’s physical self and his/hers data
representation)22. We may thus say that today, more than ever, the
imaginary maps, the ones that trace singular trajectories or create a
people to come, are drawn in relationship to (and in tension with) a
cartography of an overexposed territory, monitored by a gaze that
never ceases to calculate and evaluate.

20 Quoting Jordan Crandall in “Precision + Guided + Seeing”: “While tracking is about
the strategic detention and codification of movement, it is also about positioning. It
studies how something moves in order to predict its exact location in time and space. It
fastens its object (and subjects) onto a classifying grid or database-driven identity
assessment, reaffirming precise categorical location within a landscape of mobility.
Rather than being fully about mobility on the one hand, or locational specificity on the
other, tracking is more accurately about the dynamic between. We might call this
inclination-position. (…) This is a landscape in which signifiers have become statistics. It is
how computers think, and how we begin to think with them».” (Crandall, 2006).21 Quoting Gilles Deleuze in “Post-scriptum sobre as sociedades de controlo”: “Il n’y a
pas besoin de science-fiction pour concevoir umn mécanisme de contrôle qui donne à
chaque instant la position d’un element en milieu ouvert, animal dans la reserve,
homme dans une enterprise (collier électronique). Féliz Guattari imaginait une ville où
chacun pouvait quitter son appartement, sa rue, son quartier, grace à sa carte
électronique (dividuelle) qui faisait lever telle ou telle barrière; mais aussi bien la carte
pouvait être recrachée tel jour, ou entre telles heures; ce qui compte n’est pas la
barrière, mais l’ordinateur qui repère la position de chacun, licite ou illicite, et opère
une modulation universelle”. (Deleuze,1990: 246).22 According to Robert W. Williams in “Politics and self in the age of digital
re(pro)ducibility”: “For Deleuze, the data gathered on us through the new technologies
did not necessarily manifest our irreducible uniqueness. Rather, the very way that the
data can be gathered about us and then used for and against us marks us as dividuals.
For Deleuze, such technologies indicate that we as discrete selves are not in-divisibles
entities; on the contrary, we can be divided and subdivided endlessly. What starts as
particular information about specific people – or selves – can be separated from us
and recombined in new ways outside our control. Such ‘recombinations’ are based on
the criteria deemed salient by those with access to the information, be they
government officials or corporate marketers.” (Williams, 2005).

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Thus, as David Lyon notes on «The End of Privacy» (Lyon, 2007),
the contemporary “surveillance society”23—where location-aware
corporations such as Digital Angel and VeriChip24 arise, along with the
omnipresence of closed-circuit TV networks (CCTV) in urban spaces and
the development of a new penology based on the prediction of risk and
on the identification and management of the categorized groups
according to different degrees of danger (Ericson, R. & Haggerty, K.,
1997)—has been progressively replacing the criteria of public benefit
with that of risk minimization in what concerns the assessment of public
policies, a tendency which only gained strength since the terrorist attack
on the World Trade Center on September 11th 2001. To question this new
condition, to confront the technical apparatus, to subvert and
experiment, to rise above its time, this is what we can and should expect
from contemporary art.

“In order to work, surveillance systems depend on their subjects (indeed, as
Foucault observed a long time ago, subjects become ‘the bearers of their own
surveillance’ 1979). Although there is a sense in which the subjects of
surveillance become ‘objectified' as their data doubles become more real to
the surveillance system than the bodies and daily lives from which the data
have been drawn, their involvement with surveillance systems often remains
active, conscious and intentional. People comply (but not as dupes), negotiate
and at times resist the surveillance systems in which their lives are enmeshed.”
(Lyon, 2007: 55)

Faceless25 (2007), a film by Manu Luksch, is an excellent example
of this resistance to the contemporary apparatus of surveillance in that it
appropriates closed-circuit TV networks, deviating from their explicit
purpose and endowing them with an experimental, artistic and activist
dimension. Shot in London—the city in the world with the highest density

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of CCTVs—as part of the Manifesto for CCTV Filmmakers26, Faceless is
entirely made from surveillance camera footage obtained by the artist
under the UK Data Protection Act which gives the individual captured by
the CCTVs the right to request a copy of his/hers footage. In “Faceless:
Chasing the Data Shadow”, Manu Luksch and Mukul Patel, who
collaborated on the screenplay, state:

“Faceless treats the CCTV image as an example of a legal readymade (objet
trouvé). The medium, in the sense of ‘raw materials that are transformed into
artwork’, is not adequately described as simply video or even captured light.
More accurately, the medium comprises images that exist contingent on
particular social and legal circumstances – essentially, images with a legal
superstructure. Faceless interrogates the laws that govern the video surveillance
of society and the codes of communication that articulate their operation, and
in both its mode of coming into being and its plot, develops a specific critique.”
(Luksch & Patel, 2007: 74)

Just as in the project Video Sniffin’, developed by the collective
MediaShed27, which includes the videos The Commercial (2006), Minä
Olen (2006), The Duellist (2007), and Spy Kitting (2006-2007), in Faceless
the city is transformed into a permanent film set and the act of creation
becomes a gesture of appropriation and transformation of the
omnipresent gaze of the surveillance cameras. In this context to create is
to affectively populate a territory, to rescue it from the barrenness and
lethargy in which the non-reciprocated gaze of the surveillance cameras
had plunged it.

Faceless is the result of not only a brilliant conceptual intuition but
also of a subtle artistic work, manifest on the visual and the narrative ways in
which Manu Luksch appropriates the circles superimposed on the faces
of the recorded individuals, except for the artist herself, the only visible
face (an artifice legally imposed to owners of surveillance cameras, for
the screening of CCTV captured images, with the intent of protecting
the citizens’ privacy).

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Still from the movie Faceless (2007). Image kindly supplied by the artist.

In this Orwellian fable the fabulous voice of Tilda Swinton narrates
the story of a strange city whose inhabitants have no face and live
immersed in an eternal present, the real time, dictated by the scrutiny of
the New Machine which has abolished the past and the future, and
along with them guilt and unrest, but also any possibility to experience
the real. Suddenly, one woman regains her face and with it the
consciousness of herself and others, rediscovering the city and its areas
of affect and freedom, just like the ones populated by the ‘spectral
children’ with their colorful and clandestine dances to the sound of
which the main character will regain, for brief moments, her memories,
reuniting once more with those who are dear to her.

It is perhaps on the dance sequences (choreographed by Ballet
Boyz), which take place in several of London’s public spaces, that

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Faceless best expresses its strangeness and poetic activism, evoking the
contradictory forces that connect us to the spaces we so often cross
and forget to inhabit.

Still from the movie Faceless (2007). Image kindly supplied by the artist.

Monitored, assessed, controlled, divided and owned: such is the
complex condition of contemporary space which may nevertheless
become our territory if traversed by affects, bodies and gestures that
inhabit it and make it communal. It is this possibility that, in different ways,
movies like Faceless, the photographs and cartographies of
Baumgarten, and the maps of An Atlas of Radical Cartography address.
In their singularity and difference, these works of art offer evidence that
the creation of this emerging territory, this labor of geopoetics, can’t
relinquish a relationship with technology and the media. On the contrary:
this is a political relationship and therefore an imperative one.

Ericson, Richard & Haggerty, Kevin (1997). Policing the Risk Society.
Toronto: University of Toronto Press.
Foster, Hal (1996). Return of the Real: The Avant-garde at the End of the
Century. Cambridge: The MIT Press.